In instances where several other noncognate English terms also directly translate to the Italian word, they will conjoin the cognate in immediate succession, separated by commas. In more instances than not, a string of English words separated by commas will be closely related and synonymous within itself—but not always! For example, the following pair of entries desert, wilderness deserto m. FOHN-doh illustrate that English terms with considerably different meanings can own the same translation in Italian.

Similarly, where more than a single Italian word is a direct translation of the English term s at the right, a comma separates them. Symbolic markings in this book are as follows: Where minor spelling differences are noted, the first character or syllable of a hyphenated -fragment is drawn from the original, and subsequent characters indicate the alteration. Thus the line infante infante m. Similarly, the entry negative negativa f.

Statistiche

Thus, the entry human umano m. While Italian speech contains virtually every sound present in English, it spells some of those sounds differently, and emphasizes others with greater or lesser intensity than is common in English. These distinctions and nuances must be understood and absorbed from the outset if real linguistic efficiency is to be attained. First, they must be recognized by the ear. Then, because vocabulary needs to be read to be most rapidly and deeply absorbed, they must become readily recognized on the printed page.

The two-part, several-hour aural, visual, and vocal training program outlined below will do more to advance the learner toward confident mastery of the sound of Italian than any other action he or she might undertake at this stage of development. Or, better yet, a full hour. Just hearing how Italian sounds. The ideal recording for this ear-training exercise would be one that contains no English at all, but rather is exclusively the recounting, in Italian, of a story, or a news report, or a conversational interchange, or the reading of a book, and so forth. Such all-Italian recordings may be difficult to find in any but the largest metropolitan centers, however.

Your sole objective is to become initially familiar with the essential sound, shape, intonation, stress, and rise-and-fall cadence of Italian vocalization. Every minute you invest in such listening will pay itself back in time saved from future uncertainty, confusion, and misunderstanding. For now, pay no attention whatsoever to words, their actual spellings, or meanings. Your sole concern should be with sound.

That is, an attempt to match your mouth to the phonetic representation—pointedly including the ALL-CAPS accentuated syllable—given for each entry. It is likely that in some instances, particularly in your first few minutes of trying, your mouth will resist some of the constructions found—many TS and TSY combinations, for example. It will soon abate!

A detailed description of the pronunciation of each Italian alphabet character follows later in this chapter, and will be important to review and absorb. For the time being, however, your attention should be focused on whole-syllable sound production. Then call it quits for a while. Total investment thus far: Between spelling and sound, in short. Ch- combinations, for example, that are represented with a wildly un-English hard-K sound. And gh- spellings that yield a hard-G sound without a hint of H-like exhalation to them. Can all this be right? And soon, as well, understand why. Continue your reading-and-pronouncing effort for, again, two full pages at least, and preferably several more.

By now, you should be beginning to master the production of some of the more difficult sounds specified by the phonetic code. Give yourself an initial acceleration test. This may seem particularly difficult at first, especially in the case of words with consonants on both sides of syllabic breaks, both of which consonants need to be expressed! And those other all-important doubled-across-break consonants are not only a reflection of letter-doubling itself, but also of the fact that Italian distinctly double-pronounces such constructions, rather than merely emphasizing them with increased volume as Italian Pronunciation 5 we generally do in English.

But keep at it, and slowly, surely, you will begin to become not only the master of virtually any construction that falls beneath your eye, but moreover a rapid-master, capable of expressing whole words rather than slowly enunciated syllable-bysyllable constructs. Keep at it, on your one chosen word, until a dozen or more increasingly rapid repetitions have forced your mouth into the required shapes and movements to get it spoken with quick confidence. That is, with a smoothly ever-diminishing space between syllables. Just as your outloud reading of the words of this English paragraph would be, through years of familiarity and everyday practice, essentially without intraword breaks of any kind, so also do you want to attain the point where your expression of Italian terms will be similarly unified and unpaused except between the whole words themselves.

One word at a time. All it takes, like any other skill, is practice. In considerable detail, then, the following will resolve what mysteries remain. Italian officially possesses, now, precisely the same alphabet as does English, although five of the letters thereof are neither native to the language nor often employed, except in the representation of nonnative words. Specifically, the letters J, K, W, X, and Y are all but invisible in the Italian lexicon, although the English-equivalent sounds that we associate with those characters are richly abundant in the language.

As you have begun to appreciate in the course of the foregoing exercises, those sounds are produced, in Italian, by other letters and letter-combinations. The listing sequence is from easiest-to-absorb by an English speaker , through somewhat-trickier, to really problematic, potentially confusing, and most-difficult-to-master. Italian possesses all the other sounds that we English speakers draw from our widely variable A such as in bather and matter and water , but those sounds are never represented in Italian by the letter A.

So fix this one easily and firmly in mind: B BEE Another easy one. B in Italian is pronounced identically as it is in English, in all circumstances. D in Italian carries precisely the same value as it does in English. The Italian F is identical in value to its English counterpart. In the rare instances where it is employed, it generally pronounces as it does in the donating tongue.

Usually, it is safe to pronounce this letter as in English. In all cases it pronounces exactly the same way as does its English equivalent. So relax with the safe generalization: In those rare instances, as throughout most of Europe, it is almost invariably pronounced like an English V. Thus a bartender will readily understand a request for whiskey, but very probably ask what kind of VEE- skee you want. Rarely seen except in words derived from Greek or Latin, or, more recently, other tongues.

Generally pronounces as in English. Some Italian words with an open E are letto leht-toh , bed; bello behl-loh beautiful; sette seht-teh , seven. Some Italian words with a closed E are bere beh-reh , to drink; sete seh-teh , thirst; neve nehveh , snow. As you can see, we are using the same letters EH to represent both sounds: The two sounds are both present in the Italian word bene beh-neh , well.

Italian words with an open O are porta pohr-tah , door; posta poh-stah , mail; porto pohr-toh , harbor. For the same reasons as in the case of the letter E, above, we are representing both sounds with the letters OH. The Italian word poco has first an open O and then a close one. Read that sentence again, and understand clearly: In Italian, in short, the H is always silent. Even in imported-into-Italian words such as hamburger, hobby, and hotel, the letter H is without pronunciational value, merit, or effect.

In an Italian mouth, an H remains utterly silent. Still, for all its silence, it is not without importance. Indeed, it owns a very great significance wherever it occurs in a native Italian word. Simply put, it tells the reader or speaker how the preceding C or G which, except in imported words, are the only two letters that ever precede an H is to be sounded.

Specifically, about the C or G that precedes it. It has no value of its own. Do NOT express it vocally. Thus bringing full circle the complexity alluded to at the outset of this long discussion. It is, at first, a confusingly difficult reversal-of-expectations to get on top of! The additional detail provided at C and G, below, will complete the circle. And not only variable, but often quite opposite in pronunciational value from that which we assign to this letter in English speech. This sound reversal, in conjunction with the other sound reversals noted directly below, makes the Italian C one of the most fundamental of all difficulties faced, and consequently one of the most critical that the learner absorb and incorporate into his consciousness from the outset.

So while anti-intuitive, at least the CE combo is easy to keep in mind: Because C is so widely employed in Italian as in English , but with a so-often notably different result, the serious learner must make mastery of this letter a primary objective. In Italian GE-consonant and GI-consonant combinations, however, the letter G assumes an English J-like sound, just as it does in many English words—gem, general, gin and giraffe, for example. When GLI is followed by vowel a, e, or o, we get sounds lyah, lyeh and lyoh, respectively. Thus campagna kahm-PAH-nyah , campaign. The Italian G, alas, is common enough to make early mastery of its variant complexities highly advisable.

The latter two problems are relatively easy, but to get the other G- complexities well in mind, eye, and mouth will require more effort. Several certainties do exist. And an S followed by -c, -f, -p, -q, or -t, regardless of where that construct occurs within a word, generates a standard English S sound as well.

FOREIGN EDITIONS

It is also certain that whenever the Italian sibilant S is expressed, regardless of its singular or doubled status within the spelling of the word, it is done with slightly more emphasis than is accorded to any other undoubled Italian consonant except r. Now the difficulties begin!

And Italian nouns and adjectives ending in a -so, -sa, -se construct often pronounce with a z sound as well—e. There is, alas, no reliable rule that governs these variants; the early learner who forgets to substitute a z for an s sound in one or another of these troublesome instances, or makes an incorrect transposition of sounds, will hardly be held to account by a native Italian, however. Regionalism plays a role here, and even they misspeak their language sometimes—as many English speakers garble their own with regularity!

For the letter assumes distinctly different although now, reliably unbuzzed sounds when immediately followed by a -c in combination with various other letters. In many instances, an Italian Z pronounces, most unexpectedly, like an English TS construct, such as is made at the end of English words like forts, meats, or weights. Because this TS sound invariably occurs within the body of the Italian word where such a sound construct never occurs in English , it may initially seem quite odd and difficult to master in midword position. An apt example of this anti-intuitive to us!

As decidedly un-English as it might be imagined. It follows, of course, that when an Italian Z is doubled—which is very often indeed—it is not an English z sound that repeats, but rather the T portion of the single-Z pronunciation. In other instances, an Italian Z will assume a subtle dz sound, as in the English word adz. This pronunciation is more often than not found in Italian terms that begin with Z—e. Letters doubled in Italian spelling are always—always!! There are no exceptions to this rule: While some teachers Italian Pronunciation 17 suggest that doubles must be invariably and distinctly doublepronounced, the fact is that many doubles occur amidst constructions that make double-pronunciation almost impossible for the nonnative mouth to produce, without slowing to a near halt.

A single example will suffice: And while consonants represent at least 90 percent of all double-letter spellings, the rare instances of doubled vowels are also subject to the same rule. Thus zii TSEE-ee , plural of zio m. The learner who fails to note which words deviate from this standard, and thus blithely pronounces all words with stress next-to-the-end, will be a much cruder speaker than need be. And practice, practice, practice! To fail to do so is to severely retard his or her advancement toward correct fluency.

To be sure, because a preponderance of Italian masculine-singular nouns end with the letter -o e. Similarly, most nouns ending in -a e. Nouns that conclude with an -e can be either masculine or feminine e. These are merely high-odds likelihoods, however: Italian nouns ending in -u or a consonant are extremely rare, are always terms imported from other languages including ancient Latin , and are far more likely than not to have been assigned to the masculine side of the ledger.

Even this small island of gender-rationality loses much of its allure, however, in view of the existence of dual-gender herein, m. The learner, then, is left with but two options. The latter course is highly recommended, although it is much more demanding. Only with proper gender well in mouth will real admiration be earned! Graceful fluency depends upon noun correctness. In Italian, pluralization is never accomplished by the addition of an -s. Thus, one object— oggetto becomes plural objects—oggetti; pagan—pagano Italian Grammar 21 becomes pagans—pagani; and saint—santo becomes saints— santi.

Thus one staircase—scala becomes plural staircases—scale; table— tavola becomes tables—tavole; and urn—urna becomes urns— urne. Thus tooth—dente becomes teeth—denti; foot—piede becomes feet—piedi; and ship—nave becomes ships—navi, and so forth. A small body of masculine -o enders, for example, pluralize by changing to -a and becoming feminine! Another small number make substantial, whole-syllable spelling changes between singular and plural forms. And some undergo a substantial alteration of stressing between the two forms.

In advanced teaching texts and reference works, such atypical pluralizations are pointedly highlighted. Italian, however, requires no fewer than seven! Thus the following variety: The Other Masculine Definite Articles: Thus, the bandit—il bandito; the navigator—il navigatore. Thus, the uncle—lo zio; the scandal—lo scandalo. Thus, the electrodes—gli elettrodi; the occupants—gli occupanti. Thus, the banquets—i banchetti; the designers—i disegnatori. Thus, the scientists—gli scienziati; the zephyrs—gli zeffiri.

Thus, the candle—la candela; the mother—la madre. Thus, the windows—le finestre; the stores—le botteghe; the actions—le azioni; the objections—le obiezioni; the elections—le elezioni; the emotions—le emozioni. All of the foregoing definite articles are subject to contraction when combined with certain prepositions. For example, the preposition on—su in combination with the definite article form il becomes the contraction: Of course, these are linked exclusively with singular nouns. Thus, a crystal—un cristallo; a tendon—un tendine.

Thus, a festival—una festa; a laceration—una lacerazione. Because these are generally linked with article-preposition contractions, see NOTE under Definite Articles , the student must seek detail in this regard from a more comprehensive grammatical text.


  • When Death Comes Knocking Part 2.
  • The Orcs Domain!
  • Wie realistisch ist der Realismus wirklich? Teil II (German Edition).
  • Full text of "Bollettino"?
  • FOREIGN EDITIONS;

In Italian, such allinclusive generalizations are not normally made without inclusion of the appropriate singular definite article to make the statement grammatically correct. Thus, I like ballet—Mi piace il balletto. First, with only the handful of common exceptions listed below, adjectives follow the noun that they modify, rather than precede it. Thus, Italian Grammar 25 while in English we would say a fast car, an Italian would reverse the adjective-noun sequence and say un auto rapida.

Similarly, an English barbarous Baptist would be an Italian battista barbaro. This practice is virtually universal throughout Italian speech and writing, except relative to the dozen very heavily used adjectives listed below, which are usually but not invariably placed before the noun they modify.

Adjectival Endings The other way in which Italian adjectives differ from their English counterparts is that they, of course, like definite and indefinite articles, are invariably made to match the gender and singular-or-plural status of the nouns they modify. Adjectives in the listings in this book and most other reference books are uniformly shown in their masculine singular form. The great preponderance of feminine-singular adjectives terminate with the letter -a. All adjectival endings pluralize by the same rules as apply to nouns.

Thus, save for the listing of conjunctive subject-of-verb personal pronouns below, the learner must direct his or her attention to an instructive text that treats comprehensively this vitally important class of words. He or she is urged, as soon as sufficient Italian Grammar 27 basic vocabulary has been attained to yield a growing sense of strength and confidence, to seek further intelligence elsewhere regarding this vital category of the Italian tongue.

In brief, the prepositions are: A general Italian Grammar will list, define, and offer usage examples of these thirty-plus contractions. In Italian, the overwhelming majority of adverbs terminate in a -mente construct anormalmente, timidamente, capricciosamente, finalmente. Furthermore, few Italian words that are not adverbs end in the -mente construct.

The few Italian adverbs that do not terminate in -mente are almost always multiword adverbial phrases, such as calmly—con calmo, confidentially—in confidenza, and so forth. An Italian adverb generally follows the word it modifies. All in a single word or two-word construct, which can assume any one of up to eighty-plus forms! While it is clearly beyond the scope of the present volume to decipher and teach this complicated tangle of variants, the following basics are offered to give the learner an introductory practical understanding of Italian verb structure and use.

The student who learns the most regularly useful of these infinitives will be able to communicate his or her essential needs effectively, if not Italian Grammar 29 with the smooth, polished, and grammatically correct fluency of one who has truly mastered the language. Thus, to arrive—arrivare becomes I arrive—arrivo; to want—desiderare becomes I want—desidero; to speak—parlare becomes I speak—parlo; to wait—aspettare becomes I wait—aspetto; and to participate—partecipare becomes I participate—partecipo.

Alas, the topic is not so simple, as attested by the many textbooks that focus on nothing but verbs alone! The former is an easier, more basic treatment, ideal for novices, while the latter is a highly detailed and richly comprehensive technical overview of over five hundred verbs in their multitude of conjugations, variants, and irregularities. The learner is encouraged to rely upon such sources for enlightenment regarding, and mastery of, this complex yet vitally important part of the Italian grammatical structure.

In many instances, familiarity with these words is much greater than awareness of their Italian origin. Very likely you too will find many wholly familiar words here, the Italian source of which will surprise you, and thereby instantly broaden your reading and conversational strength and confidence!

Some learners may find this list somewhat more difficult. In many instances, not surprisingly, there needs to be some adjustment of pronunciation. The circa that we pronounce as SIR-kuh , for example, issues from an Italian mouth as CHEER-kah , and in most other instances the precise pronunciational value that English speakers assign to any given set of alphabetic symbols is at least minimally at odds with the sounds that Italians see in the same combination of letters.

AHK-kwah water acquavite f. Ragazzo and ragazza are most often used in reference to older children. The omnigender term nipote nee-POHteh can refer to either a grandchild of either sex or to a niece or nephew. A snappy dresser is a bellimbusto m. Even the improving of beauty follows in line: In reference to the voice bello under which this entry appears, it must be remembered that an adjective always matches the gender of the noun it modifies.

Thus, one would never refer to a beautiful woman as a bello donna, but rather as a bella donna. Thus, the primary noun of that conceptual series, bene m. BEH-neh , good, heads a long string of related terms: BOHK-kah mouth anatomy bordello m. When expressing enthusiastic appreciation to or regarding a female performer, the word becomes brava! BREE-oh verve, elan buon anno! KAHM-poh field, small plaza in Venice cane m. KAH-neh dog capo m. KAH poh boss, chief, head man, leader capodanno m. KOO-poh-lah dome diavolo m. DYAH-voh-loh devil Dio m.

DEE-oh God diva f. DEE-vah very famous female singer or actress divertimento m. Also closely associated are the terms: DOHL-cheh , sweet taste or general quality of ; and dolcezza f. The adverb dolcemente dohl-cheh-MEHNteh , sweetly, soothingly, also springs from the same root. DOHN-nah woman espresso m. FEH-deh faith fedele adj. FEE-neh end finestra f. FYOHR-reh blossom, flower fiume m. FYOO-meh river formaggio m. FOHR-noh oven forte adj. FOHR-teh loud, strong fortissimo adj. Also note that the singular form fungo is almost never used except in general reference to fungus.

GHAM-bah leg gatto m. GEHT-toh ghetto grande adj. The latter term means little small amount and as an adverb, slightly. Italy is rich in dialects, a subject too large and too specialized to treat here. The pronunciation given above is the standard one, used by all educated Italians in Italy and outside of Italy.

GWEHR-rrah war inferno m. Lista di termini e frasi familiari 37 lento adj. LEHN-toh slow lingua f. LEEN-gwah tongue physical organ , language luna f.

The Orcs Domain

LOO-poh wolf madre f. MAH-dreh mother maestro m. MAH-fyah mafia mal m. MAH-noh hand mare m. MAHR-reh sea mezzo m. MEHD-dsoh half, middle; adj. MOHN-doh world Natale m. NOHN-nah grandmother nonni m. NOHN-nee grandparents nonno m. NOHN-noh grandfather nord m. NOHT-teh night nuovo adj. OH-lyoh oil opera f. OH-pehr-rah grand opera, work operetta f. OHR-roh gold osso m. OHS-soh bone pace f. PAH-cheh peace pacifico adj. PAH-dreh father padrona f. PAH-stah pasta pensione f. PEH-sheh fish pianoforte m. PYEH-trah stone pizza f.

PEET-tsah pizza pollo m. POHL-loh chicken, fowl in general pomodoro m. SKEHR-tsoh jest, joke secco adj. Still, this remains a subtle distinction to be well aware of! STEHL-lah celestial star strada f. A secondary road will often be referred to as cammino m. A principal highway, superhighway, expressway, or freeway is known as autostrada f.

The basic adjective from which both Italian svelte and English svelte come from is svelto, meaning quick in movement , quick-witted or smart, slim, or slender. TEHR-rrah ground, land, soil, earth terra f. TEH-stah head anatomy topo m. TOH-poh mouse toro m. TOHR-roh bull torta f. TOHRR-tah cake, pie, tart triste adj. TREE-steh blue, moody, sad tristezza f. TOOT-toh all, everything, whole uova f. WOH-voh egg vecchio adj. VEHK-kyoh old, elderly vendetta f. VEEL-lah very large urban house, spacious country house vino m. VEE-noh wine virtuoso m. VEE-tah life vivace adj.

And the serious learner who utilizes it as the basis of an ongoing and systematic language-acquisition program will find it both invaluable and continually encouraging. AH-bah-koh abandon, relinquish, vacate, forsake, jilt to abbandonare ahb-bahn-dohNAHR-reh abandoned adj. AHR-ryah air conditioning aria condizionata f. AHL-boom Lista di termini identici e simili 51 alcohol alcol m. AHL-kohl , alcool m. AHL-koh-ohl , alcole m. BEE-bee-tah ; soft drink, soda, soda pop—bibita f. AHL-jeh-brah alibi alibi m. AH-lee-bee alien alieno m. AHL-pee altar altare m.

AHN-jeh-loh angle, corner, street corner angolo m. AHN-goh-loh anguish angoscia f. AH-nee-cheh annex annesso m. AHR-bee-troh arbitrary, high-handed adj. AHR-bee-troh Lista di termini identici e simili 57 arc, arch arco m. AH-reh-ah arena arena f. AHR-mee aroma aroma f. AHR-teh artery arteria f. AH-see-noh assail, pelt to assalire ahs-sah-LEER-reh Lista di termini identici e simili 59 assailant, attacker assalitore m.

AHZ-mah astrology astrologia f. AOW-rah aureola, halo aureola f. AH-shah axis, axle asse m. Among Italians themselves, however, the terms bambino and bambina remain the norm. As above, however, the term is not used in Italian-to-Italian interchange. BAHL-loh ball sphere palla f. PAHL-lah ballad ballata f. BAHL-sah-moh balmy weather adj. BAHRR-rah , sbarra f. BAHR-barr-roh barbarism barbarismo m. While the general concept is well understood in Italian, there remains considerable disinterest and lack of polish in its execution. BAHR-bah ; bearded adj.

BAHZ-skeet-bahl-leh bastard, mongrel bastardo m. BEH-styah beat rhythmic sound battito m. BEERR-rah belligerence belligeranza f. The former category of bel- words come from Latin bellum war and the latter, from Latin bellu m carino , which in turn comes from the diminuitive of bonus buono. BEE-chee bicyclist ciclista m. They still prefer grande. BOO-meh border bordo m. BOHR-doh botany botanica f.

BRAHN-dee , acquavite f. BREE-lyah brief, short adj.

BREH-toh-neh brocade broccato m. BOOS , autobus f. AOW-toh-boos , pullman m. The term pullman generally refers to larger intercity and modern tour busses, rather than local route vehicles. BOO-stoh button bottone m. KAHK-toh cadaver, corpse cadavere m. KAHL-koh-loh calligraphy, handwriting calligrafia f. KAHN-kroh candelabrum candelabro m. KAHP-peh-roh capital city capitale f.

KAHP-soo-lah captain capitano m. Even a chariot falls into the embrace of carro! KAHR-ree-koh caricature caricatura f. KAH-zoh case container cassa f. KAHS-sah cashier, bank teller cassiere m. CHEH-droh celebrant celebrante m. CHEL-lah cell biological cellula f.

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KEE-mee-kah chemotherapy chemioterapia f. KREE-stoh Christian cristiano m.

Calling All Cars: The Bad Man / Flat-Nosed Pliers / Skeleton in the Desert

KROH-moh chromosome cromosoma m. CHEER-koh-loh circuit circuito m. CHEER-koh cirrhosis cirrosi f. KLAHSseh classic, classical adj. KLOW-zoh-lah claustrophobia claustrofobia f. KLEE-mah clinic clinica f. KOH-stah coastal costiero adj. KOH-brah cocaine cocaina f. KOHK-tehl cocoa cacao m. KOHK-koh ; fruit noce f. The important noncognate senza always means without. KOH-mah combat, fight, fighting combattimento m. KOH-mee-koh comic, comical, funny adj. SOH-choh , socia f. That is, with a PYOO second syllable and a sharp consonantal ending!

Indeed, the original Italian term for computer, the elaboratore m. BREE-djeh ah kohn- contraction contrazione f. This term is a more common word for string than corda, although either will do. KOHR-neh-ah cornet cornetta f. KOHR-poh corpulent, portly adj. KOHZ-moh cost costo m.

KAOW-boh-ee cramp crampo m. KRAHM-poh cranium, skull cranio m. KRAH-nyoh crater cratere m. KREH-spoh crest cresta f. KREH-stah criminal criminale m. KREE-zee criterion criterio m. KREE-tee-kah croquette crocchetta f. KROH-cheh crown corona f. KROH-stah crustacean crostaceo m. KREEP-tah cryptography crittografia f. KOO-poh-lah curator curatore m. CHEE-kloh cyclist ciclista m. DAH-gah , stiletto m. DAHN-seeng , ballo m. BAHL-loh dart dardo m. DAHR-doh data dati m. DEH-bee-toh debt debito m. DEH-bee-toh debtor debitore m. DEHN-teh and toothache—mal m.

DEE-skoh discord discordia f. DEE-skoh disobedience disubbidienza f. MEH-dee-koh doctorate dottorato m. DOHG-mah dogmatic, assertive adj. DOHL-lahr-roh domain dominio m. DOH-seh doubt dubbio m. Remember that senza always means without. DOHT-chah dozen dozzina f. DREEN-keh drug droga f. DEE-nah-moh dynasty dinastia f. EH-koh eclipse eclissi f. EH-goh egotism, selfishness egotismo m. EH-poh-kah equable, equitable adj. Ehoor-ROH-pah European europeo m. Italian rarely utilizes an ex- combination, but rather uses es- almost exclusively.

Rather, an Italian executive is invariably: FAHT-chah facet faccetta f. FAHL-koh fallacy fallacia f. FAH-mah famous, famed adj. FAH-shee-noh fascist fascista m. FAH-toh fatigue fatica f. FEH-stah feat fatto insigne m. FAHT-toh [een-see-nyeh] feces feci f. FEHM-mee-nah female, feminine adj. FEH-stee-vahl , festa f. Excepts from the first Orcs trilogy can be read here. Fantom Print Cover art: Trade paperback omnibus Publisher: Mass market paperback omnibus Publisher: Due to some quirk, Timun Mas published only the first volume of the trilogy, in May The SFBC published the trilogy as individual volumes, then, in November , issued this omnibus edition:.

The Taking was short-listed for the British Fantasy Award , and has since been reprinted in a number of magazines and anthologies worldwide see Bibliography for full listing. The Orcs Domain Following the success of my Orcs: Gollancz Autumn German edition. The working title for the second volume of Orcs: Here are the first edition covers: